Hokusai, and his school : catalogue

SNi 7 v4 SU STAN
INSTITUTION
} us f EE a,

MUSEUM OF FINE ARTS.

DEPARTMENT OF JAPANESE ART.

Special Exhibitions of the Pietorial Art of
Japan and China.

No. 1.

_ HOKUSAI, AND HIS SCHOOL.

CATALOGUE.

BOSTON:
PRINTED FOR THE MUSEUM BY ALFRED MUDGE & SON,

No. 24 FRANKLIN STREET.

1893.

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INTRODUCTORY REMARKS.

An adequate classification of objects of Japanese art, produced
during the thirteen centuries of its existence, is based upon a
primary chronological division into five great periods, which are
quite sharply demarcated from one another as wholes, not only
through differences of political, religious, intellectual, and
social environment, but also in the vital character of their
eesthetic forms. Each discovers, perfects, and exhausts an ideal
of conception, a synthesis of artistic qualities, and methods of
execution peculiarly its own, though the course of its effort
becomes divided into a number of parallel or successive experi-
ments with sufficient individuality to constitute them separate
schools. Each of these schools has its own special history,
wealth, and fortune according to the number and order of its
individual geniuses, and these in turn surround themselves each
with a coterie of more or less able pupils.

The first of the five great periods culminates at the beginning
of the eighth century of the Christian era; the second at the
beginning of the tenth century; the third at the beginning of
the thirteenth; the fourth at the end of the fifteenth; and the
fifth at the end of the eighteenth. Of this last period alone is
it necessary now to speak; for the contemplated exhibitions of
leading schools and masters in the line of the pictorial arts, of
which this is the first, will follow in the main the reverse of the
chrovological order.

The Fifth Period of Japanese Art may be said to begin about
the year 1680, to culminate about the year 1780, and to close
with the downfall of the Tokugawa Shogunate in 1868. It is
part of a large movement in the history of Japanese culture,
roughly characterized as an effort to get away from the domi-
nation of the Chinese ideals of the preceding period; to re-

iv INTRODUCTION.

awaken interest in Japanese history, character, and custom; to
substitute the genuine act of the individual for the machinery
of form, and to bring the common people into conscious parti-
cipation in the higher life of the nation. That these worthy
aims, more or less clearly defined in the consciousness of
scattered leaders, failed in the realization of complete success is
due, in part, to the fact that the upper classes of the military
aristocracy for the most part stood aloof; in part to the absence
of concerted effort among literary or commercial men who,
unused to the solution of such deep-reaching social problems,
were too often content to lose precious opportunities in narrowly
conceived individual experiments. Elsewhere, the vigor of
purer aim was lost in the muffled antagonisms of feudal politics.
There is thus a note of uncertainty and self-contradiction in
the culture of the second half of the Tokugawa dynasty, which
increases till the ominous whisper of widespread conspiracy
ushers in the end.

In Art the sum of these local movements, born under condi-
tions of mingled hope and adverse fate, never succeeded in
creating, as in earlier periods, something to be welcomed as a
recognized national school. It was a period of scattered aims
and random methods, agreeing only in the common desire to
break away from older traditions. Any new departure which
promised relief was eagerly grasped at, the result being sub-
division into a host of petty schools working side by side, some-
times in rivalry, but in the main for separate, class-limited
patronage. It is necessary here to enumerate those only whose
individuality and length of life are marked. Early among them
is the school of Korin, already foreshadowed in the work of
Sotatsu, and which may be roughly described as a transition
from the formalism of the Kanos to ultra-impressionism. A
second was the school of Chinnampin, an imported Chinese
master who for some years made Nagasaki the seat of his
instruction. Its work was chiefly confined to a realistic render-
ing of animals and flowers; its attraction lying rather in the
newness of the realism than in its foreign origin. A third, from
the same continental source, was the so-called Bunjinga or
Southern School, which took its rise in the mannerisms of the

: INTRODUCTION. Vv

independent Confucian literati of the later Celestial Empire.
The very name bunjinga, ‘ literary man’s painting,’ describes
both its scopein Japan and its weakness. While raising the
banner of freedom and individual refinement, winning regiments
of converts from the very ranks of the nobility, and sweeping
like a wasting conflagration over four fifths of the country, it
fell under the inner tyranny of the same pious conventionality
of literary aristocracy which was already ruining the Chinese
intellect. A fourth of these movements was the Shijo or Kioto
school established by the great Okio, whocomes nearest to being
a leading genius in modern Japanese painting. The principle
of realism combined with delicate artistic insight, which he
firmly founded upon an original and adequate technique,
became the fertile source of numerous sub-schools comprising
in four generations a membership of at least a hundred masters,
who received for chief stimulus the patronage of the wealthy
mercantile classes of the two neighboring cities, Kioto and
Osaka. Yet as late as 1878 very few of these artists were
known even by name at Yedo.

But a fifth school, which, in the magnitude of its results if not
in the abstract excellence of its standards, comes the nearest to
being the distinctive national school of the Fifth Period, is the
Ukioye, ‘‘ The Painting of the Floating World,’’ which deliber-
ately throws to the winds all ideal standards, literary, religious,
moral, or esthetic, and, without conscious aim at realism, un-
dertakes in terms interpretable by the common people to mirror
for its own amusement the passing fashions and the vulgar rec-
reations of the day. Yet, before speaking of this popular school
more in detail, it is important to enumerate, at least, three more
schools which, of earlier origin, were stimulated into new vigor
and manner by the rivalry of these innovating masters, and by
the very thrill of the questioning self-asserting life that was in
the air. Their work holds no small place in the sum of latter-
day Japanese production. I refer to the Kano school, which
still held its own as the official furnisher of pictorial decoration
to the elaborate court of the Shogun, and to the imitating host
of feudal establishments throughout the registry of the daimio-
ate; to the Tosa school, its rival in aristocratic favor, and the

vi INTRODUCTION.

special protégé of the imperial court at Kioto, and to the Butsu-
ga,or paintings of altar-pieces and illuminated manuscripts for
the use of the Buddhist temples. In addition, it should be said
that many minor schools arose on the basis of a combination of
qualities peculiar to two or more of the eight already mentioned.

In speaking of art in general, during this fifth Japanese
period, no one can fail to reckon with the enormous amount of
work done by artisans trained in the technique of the many
beautiful art-industries. This work is perhaps the most dis-
tinctive form of the nation’s art at this time. The patient
skilful labor which it demanded furnished a natural outlet for
the restless energies of masses coming for the first time into
something like adequate self-consciousness. In strict classifica-
tion, however, this can be enumerated as no new branch or
school, since the character of its design varied with the tradi-
tions of the pictorial school in which the designer had been
trained. Thus a large part of the modern design of Kioto
belongs to the Shijo school, while the Ukioye may properly
claim preéminence in that produced at Yedo. It may be laid
down as arule that in all periods of Japanese art, except the
first, when sculpture was the leading art, it is the character of
the pictorial work upon which primary classification turns.

The Ukioye, then, is only one of eight leading schools whose
contemporaneous work constitutes the Fifth Period of Japanese
art. It is the art of the common people preéminently, though
not exclusively, since, as we have seen, the Shijo school sought
the patronage of the mercantile classes. It is not true, either,
that here for the first time in the history of Japanese art, the
every day life of the people was taken as an adequate motive.
The art of the Third Period had been conspicuously the repre-
sentation of Japanese man, rich and poor, noble and peasant,
soldier and servant. Neither is it true that the Ukioyeshi are
the only artists of Japan sprung from the common people ; for
Okio and most of the artists of the Shijo school were not
Samurai by birth. But it is true that Ukioye is the art which
specially accompanies the new movement of the last two cen-
turies toward self-consciousness and national feeling on the
part of the plebeian classes, a movement of which the present

INTRODUCTION. Vii

condition of Japan is the logical outcome. Nodoubt the germs
of this movement were sown in the contact with foreigners,
which marked the end of the sixteenth century. The establish-
ment of the Tokugawa despotism and of the policy of exclusion
was only an illustration of the growing solidarity of the na-
tional temper which also caused the consciousness of the people
to turn inward to the possibilities of self-development. This
movement was roughly shaped by four new lines of intellectual
activity : first, independent historical research and the publica-
tion of great popular histories of the earlier national epochs ;
second, the foundation and development of the theatre, with a
popular dramatization of great historical events, scenes from
ancient romances, sensational versions of noted biographies,
and striking incidents from contemporary life; third, the evo-
lution of a great school of novelists who utilized every motive
of romantic interest in Japanese history and character, in addi-
tion to those available for the stage ; and fourth, the enormous
expansion of printed illustration, both as an accompaniment of
histories and novels, and as an independent means of holding
the mirror up to contemporary custom. Tothese might perhaps
be added, as the result of an insatiable curiosity for facts, a
semi-scientific literature, founded upon imported scraps of
foreign information, original though sometimes erratic re-
search, especially in natural history, and constant travel and
exploration of the wonders of the land. In these several ways,
the people gradually came through self-understanding to be a
force in the higher life of the nation, quite as in the West pop-
ular literature, the drama, science, and the newspaper have
penetrated to our lower social strata. A multiplicity of new
standards and wants became felt, the world of fashion as a
great domineering mistress was born, costume and the supply
of countless objects for personal adornment or decorative en-
vironment entered upon a marvellously rapid course of evolu-
tion, and the spontaneous fulness of life shrank from no ex-
cesses of pleasure. Yedo during this period was not unlike
Paris under the Second Empire.

It may be inferred from this brief account what wonderful
opportunities the artists of the Ukioye had at their disposal, —

viii INTRODUCTION.

national mythology, history and romance, facts of animal and
plant life, famous landscape scenes, the heroes of the drama,
the heroines of gallant adventure, the numberless /fétes and
merry-makings of the people, and the complete rotatory album
of the fashions, in the way of motive; painting for the decora-
tion of hotels, theatres, shops, and houses of pleasure, and
_ printing for endless book-illustration, and for cheap pictorial
representation, inthe way of demand. On the whole it is the art
of printing, and the designing for colored illustration, which
give the most characteristic stamp tothe Ukioye. Yedo became
the centre of an enormous exportation into the provinces, and
among the agricultural population, of books and cheap color-
prints. The designs of leading masters might be numbered by
tens of thousands. This facility and condensation soon led to
a third line of work for the Ukioyeshi in the designing of new
and infinite ornamentation to be utilized in the art industries.
Manuscript and published albums of decorative patterns for
architecture, sculpture, metal work, lacquered work, keramics,
and textiles were produced in large quantities.

In speaking of the positive artistic qualities of the Ukioye as
a whole, a certain amount of reserve is desirable. Whether or
not due to our latter-day theory that great art-periods are chiefly
caused by popular protest against conservative tradition, some
misconception has led European writers for the most part to
rank the Ukioye as the culminating wave of Japanese pictorial
production. The truth is, however, that in the greater qualities
of oriental art it is for the most part lacking. The wonder is
that under the untoward social circumstances of its origin it
should have done so well. In art vox populi is far from being
vox det. Cut off from the sympathy and experience of the cul-
tivated classes, compelled to suit the taste of comparatively
uneducated patrons more interested in pleasure than in beauty,
and governed by the commercial element of cheapness, it is the
highest tribute one can pay to the taste of this Japanese popu-
lace and of its artists to testify that they did not for more than
a century fall into hopeless vulgarity and degradation. The fact
is that they had deliberately thrown away all ideals whether of
morals or of art; and a philosopher would have been puzzled to

INTRODUCTION. ix

predict what new ones they should erect for themselves. It is
not enough to be interested, however passionately, in the ordi-
nary aspects of life, if this interest does not find its outlet
through the channels of high and pure taste. This does not
imply that the ancient standards of Kano and Tosa should re-
main in force, but that the new ones should be equally worthy.
No Japanese condemns Okio as vulgar because his standards
are new. But we Westerns, who prize cleverness in art above
all things, are naturally led to overrate a newly discovered clev-
erness greater than our own. In cleverness, dash, power of
rapid drawing, ability to seize available motive in every situa-
tion of life, light hilarious vitality, intense condensation, and
strength in the more external species of decorative line feeling,
they are indeed worthy of the highest praise such qualities
deserve. They lay before the student wondrous and unique
solutions of primary problems. But they are insincere, and
content with superficial phases. They exhibit great talent
limited by inadequate conceptions. They are devoid of the
higher imagination. They do not sound the deeper harmonies
of dark and light, or of synthetic line, as do the older schools.
It is in color only, and in the synthesis of color-problems with
those of notan (dark and light) that their new departure is of
great substantial worth. Here, indeed, they contribute a wealth
of possibilities before untried in Japanese art. In their excep-
tionally fine work, and at their culminating period, they do
perhaps for a moment rise somewhat above the limits here
assigned their school as a whole. The greatest designs of
Kiyonaga are really noble in their line conception as in their
color, and almost reach the point of creating new ideals.

The historical course of the Ukioye as a whole must be
divided chronologically into several quite sharply marked
stages, which follow considerable variations in pictorial style.
The first of these stages may be roughly reckoned as covering
the interval from the close of the sixteenth century to about the
year 1670. This is the primitive or unformed period of the
Ukioye, when it had not yet differentiated itself from the older
conceptions, and there was no sufficient reaction of popular
consciousness to expand its methods into the solidarity of a style.

x INTRODUCTION.

Its great creative genius was Matahei. It lies beyond the limits
of what I have called the Fifth Period. The second stage of
the Ukioye was rapidly developed into a school by Moronobu
between the years 1670 and 1690, to correspond with the great
popular awakening of the period Genroku. Though its tech-
nical methods were still largely those derived irom the Kanos,
it revelled in the representation of street scenes full of life and
gay color, and it originated the first adequate book-illustration
in thick black outline. The third stage may be considered to
begin about 1710 with the firm establishment of a new school by
Kiyonobu. The style now commences to change with the pro-
gressing fortunes of the theatre. Action becomes more violent
and cleverly imitated, color more free, juicy, and eccentric. A
large business is developed in single sheet prints, mostly «f act-
ors, in outline and colored by hand. The fourth stage originates
about 1745. Its leading geniuses are Masanobu and Toyonobu.
It deals largely with the representation of women, and with inte-
riors of theatres, inns, and other public places crowded with life.
It relies for its greatest effects upon patterns thrown together in
flat masses according to the principle of mosaic. It invents
printing in colors, but composes at first solely with the re-
sources of two tints. In book illustration it uses very delicate
designs in black outline of young people in most graceful atti-
tudes. The fifth stage is marked by the year 1765, when
Harunobu invented full color printing, softened the earlier
crude tints to great delicacy, and filled in the background with
simple but lovely landscape and architectural effects. Now was
the full blossoming of the Ukioye both in painting and in print-
designing. The romantic love of youth is here chiefly depicted.
Kiyonaga, following Harunobu after a short interval, d»veloped
further the landscape background, gave firmer drawing and
ideal proportion to his figures, massed them in bold and splen-
did groups of synthetic line and notan, and invented broader
color effects. The sixth stage can be reckoned from about the
year 1795. It is a period of dissatisfaction with the refinements
of Kiyonaga, of taste for exaggerations and deformities, of vio-
lent actions and vulgar feelings, of new clevernesses in draw-
ing, but in general of unhealthy extravagance. Coarse render-

INTRODUCTION. xi

ing of the features of popular actors and courtesans established
the types of all countenances whatever. Careless drawing and
cheap printing became common ; costumes flamboyant, propor-
tions ugly. The fulness and variety of the life to be rendered
took the place in the popular appreciation of artistic excellence,
The leader in the descent was Utamaro. His contemporary,
Hokusai, achieved a partial revival through turning attention
into a new channel, his most striking work being illustrations of
novels and rough sketches for printing of everything under the
sun.

The Seventh Period comes on about the year 1830, when
Hokusai, Hiroshige, and Kunisada lead three parallel move-
ments toward a restoration of Ukioye, one feature of which is
more sobriety and breadth of color, and another the great atten-
tion paid to landscape. The temporary advance gained was
permanently lost between 1850 and 1868.

It appears then that Hokusai was only one of several leading
masters who tried to arresta downward movement in the last
two of seven stages in the course of the Ukioye, which was
itself only one of eight leading schools, together comprising
the work in design of the fifth and last period of Japanese art.
Of biographical detail in the career of this extraordinary man,
which has been worked over in various European publications,
little need be repeated here. The points to dwell on are the
combinations of qualities revealed by a study of his life-work,
and what we may learn of the order of their succession. That
he was born with an artistic genius of great capacity there can
be no doubt. That he never realized to the full the latent
possibilities of that genius is equally certain. Perhaps he
would have had less influeuce upon the minor arts’ of his
country, had he done so. Perhaps a world of delight in his
clever and beautifully illustrated volumes would have been lost
to us. But, however much we may prize his inexhaustible
fecundity, his rapid facility of draughtsmanship, his minuteness
of execution, kis sympathy with human life, his rough-and-
ready mastery of composition, and the strange broad harmonies
of his color, it would be an injustice to our best standards and
to the memory of other men to blind ourselves to the import-

xii INTRODUCTION.

ance of his short-comings. He never rises to the earnest
rendering of a grand conception. There is no hint of sublim-
ity or of passionate devotion to any worthy ideal. Nothing of
the religious fire which burned in the pen of Kanawoka,
nothing of the deep spiritual insight into the significances of
nature, and of synthetic form which dominated Sesshu, fell
on the imperturbable soul of Hokusai. He was lacking in the
element of reverence. Hence the universality of that vein of»
humor which, delightful in its place, so signally mars his at-
tempts at serious composition. It is as if a poet could not
restrain a pun even in the midst of his finest strophe. It is
from this familiar quality that the mass of foreigners, who see
all Japanese art through the eyes of Hokusai, think of it as
forever tending to caricature and the grotesque. ‘The truth is
that in his drawing even, which we admire for its action and
vigor, there is, after his style came to maturity, a permeating
convention which is far from the requirements of either truth
or beauty. We do not here refer to his anatomical peculiarities
which are a minor matter. Were his besetting idiosyncrasies
essential portions of a lofty scheme of line, we should not
apologize for him. But, as it is, they are frequently awkward
mannerisms which falsify not unessential scientific detail alone
but the essential elements of the conception. It is not Japan
that he shows us, but a highly imaginative Hokusaiish world
which he builds upforus. The majority of his faces are not
like any physiognomy now observable in Japan. His manner
of rendering trees, rocks, mountains, and other landscape
details reminds of nothing ever noticed in the varied scenery
of that country. The traveller familiar with Japanese art will
frequently have his attention held by landscape effects and
details which vividly recall the manners of the ancient Tosa art,
of the idealistic Sesshu, of the realistic Okio, even of the
impressionistic Korin. We have again and again seen upon the
street the types of faces found in Nobuzane’s portraits and
Keion’s panoramas, in the actors of Kiyonobu, or in the delicate
female features of Kiyonaga. But we have never with con-
scious effort been able to observe a characteristically Hokusaiish
face, or a markedly Hokusaiish landscape. Even his birds are

INTRODUCTION. xiii

given the same uncanny expression. But we are willing to for-
give even this, when it contributes to tenderness and purity of
feeling, or to the realization of great pictorial quality.

In this estimate of Hokusai, there should be nothing of dis-
appointment. We may not throw the responsibility so much
upon him as upon his time. We may doubt whether a richer or
a purer flower could have been raised from that soil. Hokusai
was evidently open to all new influences. We find him at various
times coming under the domination of Shunsho, Kiyonaga, the
Dutch, Utamaro, Torin, Hiroshige, and others. He never
stood still; he was ever trying experiments. The decadence
being in full swing at the time of his maturity, he could hardly
avoid becoming another victim of its causes. It was his mis-
fortune that low taste ruled during his middle life. If fashion
demanded that figures should be ten heads tall, Hokusai drew
them so. If extravagant humor pleased the public, Hokusai
was equal to it. If Utamaro revelled in massing the beauties
of the Yoshiwara in hilarious street shows, Hokusai was bound
to surpass him. His view was on a level with that of the
people. Cut off from all the higher oriental ideals of religion,
of philosophy, of poetry, of refined manners, of prophetic
insight, of chastened spirit, he could not rise above essentially
vulgar aims. Cut off from contact with the great masterpieces
of an earlier Chinese and Japanese art, he was without compe-
tent guidance. In his day, there were no public museums.
The collections belonging to temples and to private own-
ers were, for the most part, closed to the common people.
If Hokusai could have taken Keion for model rather than
Utamaro, his might have been a transcendent art. If he could
have known intimately the really great men of his day outside
of the narrow line of the novelists and the dramatists, if the
keen scholars, the profound statesmen, the men of trained
insight and judgment couid have recognized and deliberately
guided his genius into normal channels, as a Medici recognized
the new-born lights of his generation, we might have had a
Japanese art without rival for centuries. As it was, this social
gap, this antinomy inherent in the very complex constitution of
Tokugawa society, could not be bridged; the times were not

xiv INTRODUCTION.

ripe, the days of a possible great art on the lines of the Ukioye
were passed. Perhaps the greatest service he could render to
his time was the permeation of the masses with such artistic
desires and standards as they were capable of understanding.
He preserved and enriched a thousand Japanese legends, con-
ceits, myths, and elements of romance ata time when otherwise
dulness or despair might have crushed the national intellect.
On the eve of its marriage with untried Western standard he
stimulated its individuality. We may thank him for this great
work of world-wide import, even while we recognize that, as in
the American drama of to-day, an enthusiastic popular environ-
ment is not sufficient to create a great national art. The great-
est genius can successfully lead the people only through his
higher, though intelligible, idealism.

Hokusai’s artistic career comprised so many styles and
experienced such rapidity of change that it is difficult sharply
to demarcate the several leading varieties of his manner. But
provisionally, and not subdividing too minutely, it may be con-
venient here to speak of five fairly distinguishable periods.
Born probably in 1859, his earliest boyhood was contemporary
with the rise of the fifth or culminating stage of the Ukioye.
Almost the whole course of the great Japanese art of color-
printing was run within the limits of his long life. In early
days he must have closely studied the new color-harmonies of
Harunobu; but of the four great masters of the year 1775,
Koriusai, Shigemasa, Toyoharu, and Shunsho, he chose the
latter for personal teacher. The evidence for this is found in
his early name Shunro, and in several prints of actors in the
style of Shunsho’s school. But by 1780 the rise of the young
Kiyonaga’s genius had eclipsed the fame of all contemporaries ;
and Shunro, as well as most of the other pupils of Kiyonaga’s
rivals, was at times strongly drawn under the influence of the
new power. Yethe made no great mark during these years;
and the close of the best period of the Ukioye also brings on
the uneventful close of his first. Hokusai was now fully thirty-
five years old when the signs of the decadence, which should
open to him the opportunities of his riper genius, began to be
evident. People became interested in the realistic representa-

INTRODUCTION. XV

tion of fashionable life rather than in pictorial beauties as such;
and drawing tended to fall in the direction of uncouth forms
and strikingly strong or difficult attitudes. Freedom was given
for any telling innovations which genius should devise; and at
first beauties of great promise were developed, especially in
color where aroughly picturesque realism supplanted the severer
style of the previous stage. The years from 1800 to 1804
marked the excess in the fashionable elonyation of the human
figure; and these also mark Hokusai’s rapidly increasing prom-
inence as a designer rivalling in picturesque effect the work of
Utamaro and Toyokuni. In his coloring of this period he uses
frequently a crude, brilliant vermilion opposed to a variety
of soft cool grays, but with such an- extraordinary breadth of
massing that it does not lose its place. It is during this second
period that he first adopts the name Hokusai, as also Taito;
Kako and Sori are found only at this time. Of the influence of
an alleged teacher named Sori very little can be traced, due, per-
haps, to the fact that works of the earlier Sori, if there was one, are
with difficulty identifiable. The name Sori occurs in at least four
comvinations on existing prints and paintings : Hokusai Sori,
Hiakurin Sori, Hishigawa Sori, and Tawaraya Sori. It seems
from internal evidence next to certain that the first three belong
to the same man, ard that it is Tawaraya Sori, if either, who
may be identified with the teacher. But his known work does
not establish the claim of a determining influence over Hokusai.
Rather is Utamaro the man whom the latter imitates.

Between 1804 and 1808 Hokusai did some of his finest illus-
tration in black and white for novels. The exaggerations of the
Kiowa period had become curbed, the somewhat repulsive feat-
ures of his maturer manner were only in embryo, and for the
quality of line the culmination of his strength was realized in a
frank, vigorous, and picturesque rendering of every rank and
circumstance of both Chinese and Japanese life. By 1810 or
1811, we see the beginning of his own original and final manner
of conceiving and drawing human faces and figures. Some of
his female figures are extraordinarily graceful, and his coloring
becomes soft and mellow. If he had beeu content to develop
this vein, he might have attained to higher standards. But by

xvi INTRODUCTION.

1812 his growing consciousness of the scope of his powers led
him to begin his instalments of thousands of rough sketches of
all objects in heaven and earth and in the waters. From now
on we find both in his paintings and in his prints, representa-
tions of the flora, fauna, and landscape of his own country and
of China. Hokusai’s third manner or group of tendencies com-
prises, roughly speaking, the years between 1813 and 1826, This
reveals to us on the whole a temporary lowering of his standard,
though by no means implying an organic falling off in his
powers. The very freedom and rapidity with which he dashed
off his marvellous sketches led to frequent carelessness and
looseness of drawing, and to a scattered, bizarre character in
his composition. Even where an attempt is made at beautiful
line-synthesis, it has no rest for the eye. His action and pose
become exaggerated and violent; his types of figures, par-
ticularly of women, short and dumpy. He delights in the ex-
cess of rather coarse humor, degenerating even to buffoonery.
His coloring is equally undignified and loose. It is bright and
spotty, delighting in frequent use of a gay rosy pink, and quite
Jacks the massing of synthetic values so characteristic of the
color-tones of both his earlier and his later work. It is in the
designs for printing, chiefly for his ‘‘ Mangua,” rather than in
painting, that he excels.

Hokusai’s fourth manner, which culminates about the year
1835, is a very rapid reaction from the excesses of his third. It
lies in the centre of what we have called the seventh stage of
the Ukioye. It is contemporary with the most dignified and
restrained work of Kunisada, and with the great landscape
color-impressions of Hiroshige. It is marked at the begin-
ning, about 1828, by a sudden hardening and purifying of his
whole line conception. Exquisiteness of touch, under the fully
developed Hokusai convention, can go no farther. Every
detail is crisp, clear, full, and beautiful. There is a momen-
tary dignity and nobility of composing figures which almost
compensate for inadequateness of conception. These are com-
bined with color schemes, still somewhat cut up in their
mass but in individual passages sounding a very full and deli-
cate range of notes which comes somewhere near the Oriental

INTRODUCTION. xvii

standard of purity. But in a year or two more this transitional
manner relaxes in its strictness. Line becomes less conspicu-
ously crisp and more inclined to flow in certain limited systems
of conventional curves. In color a great development takes
place. A definite simple scheme of tints emerges from the
elaborateness of his experiments. A warm subdued red is
contrasted at focal points with a mellow, greenish blue, the
combination being held together by masses of warm green cul-
minating in spots of pure yellow. Minor modulating passages
of warm brown complete the scheme. This coloring is Hoku-
sai’s own creation, the most unlike anything else in Japanese
art, the nearest to the rich effects of European oil work. For
these colors are now used in strong broad masses, and with
more gradation and blending than is found in the strong color
of his early work. Moreover, in emulation of Hiroshige he now
uses full landscape backgrounds which adequately support the
color-values of his figures. This is the era of his several great
series of colored single-sheet prints, and the very central triumph
of his developed manner. The fifth period of Hokusai’s work,
which comprises the last ten or twelve years of his life, is char-
acterized by two simultaneous lines of practice, one the decora-
tive painting of kites, lanterns,and signs in a violent style derived
from the influence of Torin, the other the normal development
to new logical extreme of his own pictorial style in the direc-
tion foreshadowed by his fourth manner. The chief signs of
this latter are, in general, a further suppression of the crisp
line, the raising of notan, or dark and light mass, to the leading
element of the composition, and the blending with this in ex-
traordinarily broad tones of his adopted scheme of colors. Ink
is used in the drawing in broad and crumbly patches which
blend perfectly with the color-notan intention. This solemn
breadth of color-notan is the triumph of the close of Hokusai’s
career. With him, in 1849, perished the creative vigor of his
school, though surviving pupils attempted for a while longer to
perpetuate his latest manner. Of his many followers the
greatest were Shinsai and Hokuba in his early days; Hokkei
and his daughter Yeijo in his middle period; Hokuga and
Hokurei in his last style. By 1850 Kunisada and Hiroshige

Xviii INTRODUCTION.

were already weakening in quality, and Hokusai stands out as
the last great rock to stem the deluge of hopeless vulgarity and
imbecility which was engulfing the Ukioye.

Concerning the relation between Hokusai’s pictorial work
and his prints there is a word to be said. Though designing
for prints may be on the whole the strongest new feature of the
Ukioye, yet its painting is an important branch of later Japanese
art. Some artists, like Kiyonaga, confined themselves almost
exclusively to prints. Others, like Toyoharu, are chiefly repre-
sented by paintings. Hokusai holds both in fairly equal balance;
that is, he reserved a very considerable portion of his time for
painting. The prints of Hokusai have been well known to the
Western world now for many years. Exhibitions of them have
been held in Europe, and critical articles written about them. But
of Hokusai’s pictorial work very little has ever been seen in for-
eign countries, and very little even in Japan at any one place
and time. Owners of these paintings have been for the most
part unknown persons scattered throughout the country; and no
considerable public exhibition of them has ever been held any-
where until now. The importance of a primary study of Hoku-
' gai’s paintings istwo-fold: first, for their own intrinsic qualities;
second, for the light they throw upon his prints. Their larger
size exhibits the true scope of his draughtsmanship; and in color,
especially, the prints give but a small idea of the master’s depth.
They become a new thing for us when we can view their pecu-
liarities in the light of the pictorial technicalities which they aim
to render. The several series of original drawings for wood-
cutting are particularly instructive. In fact, the true history of
the course of changes in Hokusai’s style must be founded
primarily upon a study of his paintings rather than of his prints.

The present exhibition is designed to cover the ground of
Hokusai’s pictorial work only. Itis made up chiefly of original
paintings by the master on screens, kakemono, panels, and
albums, supplemented by original sketches and studies from
nature, also by original studies and designs for his novel-illus-
trations and other printed volumes. Only in the case of Hoku-
sai’s first period, of which no pictorial specimens are yet known
to exist, has it been thought desirable to include a few of his ear-

INTRODUCTION. xix

liest color-prints. It would have been interesting to show, in con-
nection with this exhibition, a full series of Hokusai’s work in
the line of prints; but that must be reserved for another occa-
sion, since it would have required additional space, at least equal
to that now occupied. Even of the paintings and drawings
available not more than half could be here shown. The speci-
mens hung are made up chiefly from the great collection of Dr.
William Sturgis Bigelow, and are supplemented by examples
from the Fenollosa collection lent by Dr. Charles G. Weld, and
from a few other private collections. Dr. Bigelow, during his
residence in Japan, had unique opportunities of obtaining
original works of Hokusai; and the richness of the present col-
lection is due to his indefatigable interest. .A few works of men
who influenced Hokusai, and a few originals by his leading pupils
have been included in the present series, in order to illustrate
the full scope of the school. The works have been hung in his-
torical order, commencing with Hokusai’s first teacher, Shunsho,
and ending with a painting by the master executed in the year
of his death at the age of ninety. Only those paintings which
belong to a period between his eightieth and ninetieth years
have exact indications of date in the written record of his age.
The dates of the others have had to be determined by internal
evidence, chiefly from a close comparison with a very full series
of Hokusai’s published and dated prints: The present writer
was engaged in such identification during several years of his
residence in Japan; and now thinks it possible to determine the
date of most of the original works of Hokusai within the limits
of error of two or three years. Cards giving these results, to-
gether with the subject and author of each picture, have been
placed beside the specimens.

In this exhibition, which will remain open until April, 1893,
an opportunity of studying the pictorial work of this school is for
the first time afforded to the world.

ERNEST FRANCISCO FENOLLOSA,
Ourator of the Department of Japanese Art.

bs

Sete

Bat

CATALOGUE.

1. By SHunsHo. Full color painting on asix-panelled screen.
Four panels shown. Subject, a group of ladies and
children amusing themselves in a garden. This is a fine
specimen in his latest manner of the first teacher of
Hokusai. Shunsho at this period confined himself
almost entirely to painting. The firm quiet lines of the
drapery are characteristic of the fifth stage of the Ukioye.

Bigelow Collection. Date about 1790.

2. By SHunro (Hokusai). Color-print of an actor in a
female part. This is quite in the style of the many
beautiful prints of actors designed by Shunsho and his
pupils between 1767 and 1795; but inferior in quality.

Bigelow Collection. Date about 1790.

3. By SHuNRO (Hokusai). Color-print of an actor similar to
No. 2. Bigelow Collection. Date about 1790.

4. By Kryona@a. Color-print of girls resting at a way-side
tea-house. The vigorous outline in thick free touch is
characteristic of this master, as is also the type of face.

Bigelow Collection. Date about 1791.

5. By Kryona@a. Color-print of Chinese boys at play.
Bigelow Collection.

6. By SHuNRO (Hokusai). Color-print of Japanese boys at
play. The method of drawing and coloring is essentially
Kiyonaga’s. Compare with No. 5.

Bigelow Collection. Date about 1791.

7,8,9,10. By SaHunro (Hokusai). Four color-prints repre-
senting dances at street festivals in Yoshiwara. Here
the brush-stroke and the type of face are decidedly like
Kiyonaga’s, but coarser in feeling. Compare with No.
4, Bigelow Collection.

11.

12.

13.

14.

15.

16.

Li

18.

CATALOGUE.

By Hoxvusatr Sori. A large color-print of figures crossing
a bay in a ferry-boat. In this design the characteristics
of Hokusai’s second manner are well developed; his
drawing has much improved, his color softened, and the
technical qualities of this print are of the highest.

Bigelow Collection. Date about 1798.

By Sort (Hokusai). Color-print of a ferry-boat under a
bridge. Bigelow Collection. Date about 1799.

By Sort (Hokusai). Color-print of a rain-hat maker at
work conversing with his wife.
Bigelow Collection. Date about 1800.

By HisnigAwa Sort (Hokusai). Color-print of a syrup
merchant and his wife.
Bigelow Collection. Date about 1801.

By Sort (Hokusai). Painting on silk mounted as a
Kakemono. Subject: a typical Yoshiwara belle with her
two child-attendants. The broad wet touch is character-
istic of Hokusai’s manner during his second period. The
obi or sash worn by the principal figure is woven with
the design of the stringed instrument called koto.

Bigelow Collection. Date about 1800.

By HisuigawA Sort (Hokusai). Painting on paper
mounted as a Kakemono. Subject: a Yoshiwara belle
and one attendant under a blossoming cherry-tree. The
color and the rough free touch on the tree-trunk illustrate
the new treatment. Compare with the qualities of No.
14, Lent by E. F. Fenollosa. Date about 1801.

By Hoxvsal. Ink sketch on paper mounted as a Kake-
mono. Subject: a seller of bamboo tea stirrers. Here
the new picturesque treatment is shown at its full force,
as well as the vigor of Hokusai’s conception of a figure
inaction. For differences compare with Nos. 7, 8, 9, 10.

Bigelow Collection. Date about 1802.

By Hoxvusal. Large painting on silk mounted as a Kake-
mono. Subject: avery tall lady at her toilet. Her metal

HOKUSAI, AND HIS SCHOOL. 3

mirror, saucer of beni for the lips, and other utensils are
represented with her little black lacquered cabinet. This
shows Hok usai’s rare attempt to paint a large figure, and
to work out details with great minuteness. The delicate
drawing of the hair reflected in the mirror is a sample of
this perfect execution.

Bigelow Collection. Date about 1802.

19. By Hoxusar. Painting on silk mounted as a Kakemono.
Two tall oiran. This illustrates the extreme of fashion-
able proportion in the figure characteristic of the Kiowa
period. By comparing the rendering of the small fea-
tures of these elongated heads with the full detail of the
large head in No. 18., the true pictorial origin of the type
of face found in Hokusai’s color-prints of this time may
be understood. Bigelow Collection. Date about 1803.

20. By Hoxusar. Full color painting on a six-panelled screen.
Four panels shown. Subject: a picnic beneath blossom-
ing cherries. Here some forty figures, men, women and
children, are represented in several groups, seated on
red felt mats, or wandering about on the slopes of the
cherry-crowned hill at Oji. The exaggeration of pro-
portion is becoming less marked; and the color harmony
of various soft grays with pure vermilion and white
reaches its extreme of beauty. The outline is very soft
but firm; and in no other work of Hokusai do the out-
lines of grouped figures compose into such noble and
dignified line ideas, while the color masses are treated
with an equally unique and corresponding breadth. This
painting is the finest example of his second manner.

Bigelow Collection. Date about 1804.

21. By HoxkusalI. Painting on a six-panelled screen, the
companion to No. 20. Subject: a night scene in the
crowded streets of Yoshiwara. In the two panels which
are shown, some eighty figures of men and women of
various age and costume are represented in the full
action of a moving féte. Here we have the pageant of
Japanese lower life in full abandon ; and this is just the

4 CATALOGUE.

pictorial equivalent of the crowded street scenes which
we find in Hokusai’s well-known printed books of this
date. The colors exhibit the scheme which,the printers
tried to reproduce. This is especially true of the pecu-
liar technical treatment of the foliage at the bottom of
the scene, where the roughly blended picturesque effect
is something before unknown in Japanese art.

Bigelow Collection. Date about 1804.

22. By Suinsal, the best early pupil of Hokusai. Painting
on silk mounted as a Kakemono. Subject: Geisha read-
ing and playing on the Samisen. For beauty of free pen-
manship in the outlines, and for the treatment of stuffs
in soft grays, this is not inferior to the best work of the
master. Bigelow Collection. Date about 1806.

23. By Hoxusat. Full color painting on silk mounted upon a
panel in the form of a Kakemono. Subject: an ancient
court scene from the novel, ‘‘ Hiakunin-shi.”” The
standing lady is the famous poetess, Ono no Komachi.
The costumes are approximately those of fashionable
life as found in the Kasuga and Tosa paintings of the
second and third periods of Japanese art, and the archi-
tectural decoration is also of an early style. To suit the
dignity of his subject, Hokusai has chosen his most crisp
and formal manner, but he could hardly get away from
what to a Japanese eye remains a low type of face. His
execution is of the finest order, especially in drapery.
This sort of firm but flexible brush stroke, like the blade
of a sword, is reproduced in the black and white novel
illustration of this date. Here is shown what becomes
of the color-scheme of No. 20 when translated into more
formal terms. Bigelow Collection. Date about 1807.

24. By Hoxusat. Painting on paper mounted as a Kakemono.
Subject: a man with a lantern crossing a bridge covered
with snow. This is a scene from a popular romance and
drama of the day. It illustrates Hokusai’s power of
brush-stroke at its highest grade. Here the line-touch
is neither too hard and perfect, as in No. 23, nor too

HOKUSAI, AND HIS SCHOOL. 5

yielding and irregular as in No. 17. The use of broad
masses of white pigment to enhance the notan of the
dashing black strokes against the warm tone of the paper
is striking. In these respects we are reminded of Kano
traits, as No. 23 recalls something of Tosa.

Lent by Mr. Quincy A. Shaw. Date about 1808.

25. By Hoxusat. Full color painting on silk mounted as a
Kakemono. Subject: the famous scene of the Chinese
general Kanshin, who deliberately conquered his temper
to crawl beneath the legs of insulting fishermen, rather
than draw. his sword in useless quarrel. The minute
but bold execution, the full and interesting background
of a Chinese village, and the wealth of color in the cos-
tumes again reach Hokusai’s highest standard. The
brush-stroke in the outline of his figures explains exactly
the most vigorous quality of his contemporary novel-
illustration. The new style of rendering foliage here,
which should be compared with the trees in Numbers
20 and 21, gives us the first foretaste of Hokusai’s final
manner. Bigelow Collection. Date about 1808.

26. By Tarro (Hokusai). Painting on silk mounted as a
Kakemono. Subject: Japanese girl under a cherry-tree.
This is in the roughest and most picturesque side of
‘Hokusai’s second manner. ‘The strokes are dashing and
instantaneous; the washes of ink and color rapid, sketchy,
but in effect clear and exact. The proportions of figure
and head have become quite normal and beautiful, and
the face itself, for Hokusai, is exceptionally pure and
charming. Fora moment he has lost the mannerism of
his Sori stage, and has not yet put on the more pronounced
mannerism of his later styles. For tender pose, refined
feeling, and free picturesque treatment this is also at
Hokusai’s best. ‘The last three numbers reveal his high-
water mark in three different manifestations,—the sketch,

the finished picture, and the free but full impression.
Lent by LE. F. Fenollosa. Date about 1810.

6

CATALOGUE.

27. By HoxKuBA, an early pupil of Hokusai. Painting on silk

mountedas a Kakemono. Subject, Oiran and attendant.
This has Hokusai’s manner, but less refinement of color-
feeling. Bigelow collection. Date about 1810.

28. By Hokuwvtn, an early pupil of Hokusai. Painting on

silk mounted as a Kakemono. Subject, Yoshiwara oiran.
This is interesting as illustrating the exaggerated and
gorgeous character of the costume which prevailed dur-
ing the latter part of the Bunkua period. Patterns are
large, materials heavy, color-combinations startling. It
is found especially in the color-prints by Yeizan.
Bigelow Collection. Date about 1811.

29, 30, 31, 82, 33, 34, 35, 36. By Hoxkusar (unsigned). Eight

sheets of original studies in outline for book-illustration.
In the first four of these sheets the many individual
figures are not, for the most part, in composition, but
each has been studied for itself in making a more
finished tracing on thin paper over a roughly drawn
sketch. It was Hokusai’s practice to make many such
successive tracings, trying various poses and combina-
tions, and carrying the work down to finer detail and
more finished touch, until he was satisfied. Other sheets
of this series reveal slightly varied studies of some of the
same figures. Examples of Hokusai’s first rough sketches
in red outline are given in numbers 136 and 137; of in-
complete execution but trying the total composition in
numbers 48 to 53; of almost completed study of pose and
stroke in numbers 29 to 32, and of composition also in
numbers 33, 34, and 36; and of the final drawing exactly
as it is to look when printed in numbers 123 to128. But
in the present important series we have rich examples
of Hokusai’s most vigorous outlining for illustration,
falling only slightly below the pictorial standard set in ~
No. 24. In the lower right-hand corner of No. 36, the
primary line-problem of placing figures in composition
against a landscape background is beautifully studied.
It is well here to point out the peculiar sympathetic

HOKUSAI, AND HIS SCHOOL. 7

quality of paper, ink, and brush, which is so frequently
found in good specimens of Japanese drawing, and which
is the despair of our own artists and illustrators. It
seems as if the three were so perfectly made for one
another that a new ethereal vitality arose from their
blending. No sketch executed in terms of either char-
coal or pencil can come near this quality, nor can cand
water-color touch upon our western papers.

Bigelow Collection. Date about 1811.

37 and 38. By Hoxvusat. A set of two paintings in full color
upon silk, mounted as a Kakemono. Subject : young
ladies, probably daughters of noblemen, in fine posture,
against slightly indicated landscape backgrounds. Here
we have developed for the first time the typical Hokusai
face and pose, a drawing in which pure beauty of penned
outline becomes lost in the draped masses of stuffs, and
a conception in which delicate rendering of pattern and
texture play as large a part as opposition of notan-color
masses. All these traits indicate an approaching tran-
sition to Hokusai’s third manner; though the dignified
drapery and the atmospheric effect of the warm mellow
tones of the silk, into which the color-masses of the
figures melt, are the ripe culmination of the qualities of
his second. This second manner now completed might
itself be subdivided into at least four stages exemplified
respectively by numbers 15, 20, 25, and 37.

Bigelow Collection. Date about 1812.

39. By Hoxusal (unsigned). Studies from nature of cherry
blossoms and camellias on paper, and mounted as a
Kakemono. In these most important flower studies,
executed near the date of the first volume of the
‘¢ Mangua”’ sketches, it is valuable to note, first, among
the camellias, the difference between those in which ink
outline has been used and those in which it has been
omitted. The accompanying difference between the
appropriate textures of the leaves is most marked ; and
it ig worth while to note how much more strongly the

8 CATALOGUE.

character of the camellia petals is brought out by the
rendered outline. In this outline, too, much of the effect
is due to the harmony between the several notan values
of the ink strokes which help to render both texture and
color. Among the cherry studies there are similar dif-
ferences, in addition to the specialization of double and
single blossoms, and of large detached blossoms as dis-
tinguished from’ masses upon a distant tree. These
studies reveal Hokusai in his very self-making.

Bigelow Collection. Date about 1812.

40. By Hoxusar. Two pages of an album containing flower
studies in color. The treatment of the morning-glory is
the most superb in all Hokusai’s flower work, showing
similar qualities to the camellia studies, but on a larger
scale. Here also the more special quality of a Japanese
brush stroke by which it thickens and thins is more
strikingly marked. Here we can see exemplified the
almost infinite value of a forcefully drawn outline, if
thus properly modulated, to suggest the form character,
texture, and modelling of even the most delicate sur-
faces. The shade of green in the leaves is now used
for the first time in Japanese art, except in certain color-
prints which are imitated from the Dutch.

Bigelow Collection. Date about 1812.

41. By Gussal. Anearly pupil of Hokusaiin Nagoya. Paint-
ing on silk mounted as a Kakemono. Subject: a fisher-
man’s wife coming down to the shore with an oar on
her shoulder. The similarity of this subject to many
motives of modern French art is noticeable. In the
execution there is a slight leaning toward Shijo char-
acteristics. Here the chief feature is the extraordinarily
beautiful rendering of the color, texture, and pattern of.
the cheap stuffs worn by the common people, which
forces us to pardon the disagreeably Hokusaiish expres-
sion of the face. Bigelow Collection. Date about 1812.

48. By HoxusEen. An early pupil of Hokusai. Rough paint-
ing on paper mounted asa cheap Kakemono. Subject:

HOKUSAI, AND HIS SCHOOL. SF 9

a mandarin duck in snow. In his old age, Hokusai had
a second pupil, Hokusen, the second character of whose
name is differently written. It was from the collection
of this latter, just previous to his death in 1885, that Dr.
Bigelow obtained many of Hokusai’s most valuable
drawings. This sketch is in the transition to Hokusai’s
third manner in bird drawing, but exemplified in No.
oitle Bigelow Collection. Date about 1813.

43. By Hoxusal. But probably Hokusai the second, a pupil
of Hokusai. Large painting on silk, mounted as a Kake-
mono. Subject: a tall girl reading a crumpled letter.
This is quite in the style of the master, butin all respects
inferior to it. The signature, undoubtedly genuine, is
unlike the well known hand of either Hokusai, but
nearer to that of the pupil.

Bigelow Collection. Date about 1814.

44. By BoKUSsEN. A well-known friend and pupil of Hokusai.
Painting on silk mounted as a Kakemono. Subject: two
seated female figures. The softness of drawing of the
richly colored garments is noticeable; but the faces have
an exaggerated ugliness which Hokusai never descended
to. _ Bigelow Collection. Date about 1814.

45. By Hoxkusal (unsigned). Two rough flower studies of
pinks and dandelions mounted as a Kakemono.
Bigelow Collection. Date probably about 1815.

46. By HokKUsAI (unsigned). A careful study of flowers and
a bee in color on paper mounted as a Kakemono. The
lack of inspiration in this ‘“ faithful” study as compared
with numbers 39 and 40 is evident; yet it seems impossi-
ble to ascribe it to anyone but Hokusai.

Bigelow Collection. Date probably about 1815.

47. By Hoxkusal (unsigned). Rough colored study of fowls
on paper mounted as a Kakemono.

48, 49, 50, 51, 52, 538. By Hoxusar. Six pages of an album of

sdesigns for printing in black outline with a pale red wash.
These are of Chinese and Japanese subjects with either

10 CATALOGUE.

landscape or architectural background. Though they
are specimens of an uncompleted stage of drawing, al-
ready they show something of the carelessness of line-
feeling which marks Hokusai’s third manner.

Bigelow Collection. Dated 1815.

54. By Tazcui or Saticur. Pupilof Hokusai. The signature
is Katsushika Taiichi, and some Japanese authorities have
said that this is a name assumed by Hokusai for a year
or two only. The quality of the work and of the hand-
writing renders this improbable, though the manner is
much like that of No. 55. Painting on silk mounted as
a Kakemono. Subject: two women of the merchant
class in a cake-shop arranging boxes of confectionery for
sale. Bigelow Collection. Date about 1816.

55. By Hoxvusar Tarro. Here we have Hokusai’s typical
handwriting at this period. The character pronounced
‘¢Tai?? in this name by those Japanese booksellers and
designers of Tokio who have been educated in the Ukioye
traditions of an older generation is more commonly
read as ‘“‘Sai” in Japanese literature. Hence the name
‘“‘ Saito’? mentioned by European writers. The proba-
bility seems to be that Hokusai pronounced it Taito,
which reading is here throughout adopted. Painting on
silk mounted as a Kakemono. Subject: a faggot-girl,
shibauri, bringing into the city on her head bound
bundles of cut sticks. This type of female porter can
still be met on the outskirts of Kioto. Her long skirt
caught up into her obi, the cloth wristers which protect her
lower arms, the red handkerchief holding her lunch and
tied to her load, and the spray of blossoming cherry
which on her road down from the mountains she has
broken off and thrust into the outer bundle, are interest-
ing features of the design. Artistically the qualities are
finely typical of Hokusai’s third manner in its earlier
stages. The shorter figure, the slovenly uncertain line-
touch, the loose, disjointed character of the line-com-
position in the drapexy, the cutting up of the notan

HOKUSAI AND HIS SCHOOL. 11

masses into unquiet divisions, and the lack of either
tenderness, warmth, or breadth in color, is most astonish-
ing to a student who has been dwelling upon the paint-
ings from No. 20 to No. 37. It seems almost impossible
that this can be the same Hokusai. Yet we find, as some
compensation for what we miss, most interestingly
observed details of female costume, an attempted realism
in which the very uncertainties of the touch are utilized
to render the soft textures of cloth, as in the crépe of
the white underskirt. There can be no doubt that by
this time Hokusai had deliberately discarded almost the
last trace of his earlier esthetic ideals, and that here
we have a typical specimen of that strange passage in
his career where for him, as apparently it does for every-
one, the conscious aiming at realism has induced com-
plete blindness to fundamental artistic structure.
Bigelow Collection. Date about 1818.

56. By Hokuwuvn, pupil of Hokusai. Painting on silk
mounted as a Kakemono. The drapery is stiff and not
admirable; but the head is quite like Hokusai’s best
heads of Chinese ladies in his illustrations of this
period. Bigelow Collection. Date about 1818.

57. By Hoxkwusal, probably (unsigned). Painting on silk
mounted as a Kakemono. Subject: a farm-girl working
at the process which is the Japanese substitute for
ironing, nuno-zarashi, beating out the folded cloth to
smoothness with a mallet shaped like a truncated cone.
This, though like Hokusai, is technically quite below the
standard of No. 55. But since there is no known pupil
whose manner it specially resembles, it has been attri-
buted provisionally to Hokusai.

Bigelow Collection. Date about 1818.

58, 59, 60. By Hoxusat, the second, a pupil of Hokusai.
Very brilliant full color paintings on silk, mounted as
a set of three Kakemono. The subject is the illustration
of several’ grades of female occupation. No. 58 on the

12

61.

62.

63.

64.

CATALOGUE.

right represents a young woman of the middle class who
is a professional teacher of dancing. This is indicated
by the style of dress and the fans. The rendering of
the stiff loose upper garment is admirable. No. 59, in
the middle, represents a stewardess in a nobleman’s
palace, gotenjochu. This is indeed a beautiful piece of
work both in drawing and in color. The lines of the
hair are finely treated; and the little blue landscape on
the porcelain flower-pot is most typical of Hokusai. The
small leaf pattern on the dress, too, is exquisite. No.
60, on the left, represents a farmer’s wife resting. There
is much pathos in the way in which she has thrown her-
self down on her bundle, supporting her tired arm, and
turning her head about ina sort of patient submissive
reverie. The outline drawing of the narcissus is very
beautiful, and the drooping arrangement of its leaves
harmonizes with the lassitude of the figure in contrast
with the aristocratic peony which lifts its head to the
lady of No. 59. These are the finest works of Hokusai
the second. Bigelow Collection. Date about 1819.

By Hoxusat. Color drawing on paper, unmounted. A
Japanese nobleman. The suggestion of color amid soft
ink washes is striking.

Bigelow Collection. Date about 1819.

By Hoxusati (unsigned). Unmounted outline drawing
on paper. Subject: the old man and old woman of
Takasago. Here the unquiet crumbly touch is most
notably in contrast with the firm penmanship of numbers
29 to 36. Bigelow Collection. Date about 1819.

By Hoxvusal (unsigned). One of a series of unmounted”
outline studies on paper. Subject: a hawk. This may
profitably be compared with the next, No. 64, to mark
the difference in similar forms of the use and the absence
of outline. Bigelow Collection. Date about 1820.

By Hokusai (unsigned). One of aseries of unmounted
rough color studies on thin paper. Subject: a pheasant

65.

66.

67.

68.

HOKUSAI, AND HIS SCHOOL. 13

crouching. This series is most valuable as showing a

_ broad sketchy manner of pictorial work with little out-
line which is reproduced in miniature in the ‘‘ Mangua.”
Bigelow Collection. Date about 1820.

By Hoxvsar (unsigned). Another of the same series
with No. 64. Subject: afrog upon a lotus leaf. In spite
of the hasty execution the delicacy of effect is remark-
able. Bigelow Collection. Date about 1820,

By Hoxvsal (unsigned). Another of the same series.
Subject: a giimpse of ashore. This broadest possible
treatment of landscape is frequently found in his
sketches, and prints of this date.

Bigelow Collection. Date about 1820.

By Hoxusal (unsigned). Another of the same series.
Subject: a snow landscape in black and white. This
almost exactly reproduces, on a large scale, some of his
snow landscapes in the ‘‘ Mangua’”’ and other books. The
last four drawings illustrate what fine effects can be
produced by wash upon the very cheapest kind of Japan-
ese thin paper. The remainder of the series are not
exhibited. Bigelow Collection. Date about 1820.

By Hoxusal (unsigned). One drawing in outline from
an album of many original studies and designs. Sub-
ject, two Shojo or Saké demons lolling upon the ground,
This and the next number exhibit the highest point
which Hokusai’s line draughtsmanship reached during
his third period. The outlines are vigorous, but violent
and unrestrained in their abandon of motion. The con-
trast between the fine hair lines in the flesh and parts of
the drapery, and the thick black modulated lines in other
portions where modelling is to be strongly suggested, is
a characteristic which from now on becomes frequent in
Hokusai’s work. It is found most beautifully reproduced
in his prints, and it illustrates two great principles of
Japanese art, the power ofsynthesized thick and thin line
to suggest modelling, and to produce notan beauties by its

mere massing. Bigelow Collection. Date about 1820.

14

69.

70.

(em

72.

CATALOGUE.

By HoKvusAI (unsigned). One of two drawings from
another album of original sketches and studies. Subject:
three Chinese boys at play. Here the qualities of No.
68 are repeated in a more delicate manifestation. The
characteristically Hokusaiish drawing of the short fleshy
arms is, in this example, very beautiful.

Bigelow Collection. Date about 1820.

By HoxkusalI (unsigned). Another from the same album.
Subject, a small boy leaning upon a matted seat. This
is probably of a somewhat earlier date, but it is interest-
ing to compare numbers 69 and 70 for their two manners
of drawing similar subjects.

Bigelow Collection. Date probably about 1814.

By Hoxusal (unsigned). Color study on paper, of a hen,
cock, and chicken, mounted as a Kakemono. This is a
very fine specimen of the third manner, combining out-
line and sharp touch with broad work. Compare with
numbers 63 and 64.

Bigelow Collection. Date about 1820.

By HokKeEl. Perhaps the strongest and most original
pupil of Hokusai. Full color painting on silk mounted
with gold brocade in the form of a large panel. Subject:
‘*An ambuscade.’”?’ The picture represents a two-
sworded samurai disguised in workman’s drawers and a
black cloak, surprised at the entrance of a Yoshiwara
palace by one of its fair inmates who has evidently been
lying in wait for him behind a curtain, now held up by
her child attendant who looks on with approving interest.
She apparently wishes to tear away the disguise, while
he grasps his revealed sword. It is probably a case of
the revenge of jealousy. Artistically this illustrates
Hokkei’s finest work. The drawing has the character-
istics of Hokusai’s third manner at its best, and to the
gay, brilliant, spotty effects of the Master’s coloring are
added peculiarly Hokkeiish passages of warm blue.
This should be reckoned the best painting in the present
series between No. 38 and No. 118.

Bigelow Collection. Date about 1820.

HOKUSAI, AND HIS SCHOOL. 15

73. By Hoxvsat, the second. Painting on silk mounted as a
Kakemono. Subject: a Chinese landscape revealing
small figures in the foreground, an incident in the
romantic account fof ‘The War of the Three States.’
This is much softer than the work of Hokusai, soft even
to the point of effeminacy, yet the foreground group is
beautiful. It is difficult to determine the date of this
and the two following, and the assignment of a year is
only provisional.

Fenollosa Collection. Date possibly about 1820.

74. By Hoxusar, the second. Ink painting on silk mounted
as a Kakemono. A Chinese landscape of a village ona
shore embowered in trees. The impression of an atmos-
phere of soaking mist is beautifully rendered.

Fenollosa Collection. Date possibly about 1820.

75. By Hoxkusat, the second. Painting on silk mounted as a
Kakemono. Subject: a Japanese landscape with an old
plum orchard in blossom in the foreground. This is
harder in line than the two previous, but of similar
quality. Bigelow Collection. Date possibly about 1821.

76. By Hoxusal(unsigned). Color sketch on paper, unmounted,
Subject: two characteristically Japanese spirits amusing
themselves. One is a cat-faced spirit, oni, playing ‘ona
samisen, the other a bird-faced spirit, tengu, painfully
making out the words of the song which he is practising.
Here the thick outline has spread out into rough masses
of ink giving force to the blended color, as in Hokusai’s
later work; but the forms and the clear bright tones seem
to belong to this period.

Bigelow Collection. Date probably about 1822.

77, 78, 79, 80, 81, 82, 83, 84, 85, 86. By Yxrs0, the accom-
plished daughter and pupil of Hokusai. Ten color
studies selected from an album, and comprising figures,
animals, and flowers. These are all typical of her best
rapid work, which is more tender than that of her father.
His system of thickening outline is used, but applied to

16 CATALOGUE.

charmingly graceful line-syntheses; while her notan
massing, and her color effects are as brilliant and more
sweet if less vigorous. In delicacy of full juicy touch,
notably in the morning-glory study, No. 85 at the left,
she almost rises beyond the limitations, not only of
Hokusai, but of the whole Ukioye; approximating the
perfect and refined execution of Hoyen and the later
Shijo school. To estimate her quality compare with her,
father’s series of colored flower studies in the next case,.
numbers 90 to 96.

Bigelow Collection. Date about 1822.

87, 88, 89. By Hoxusal (unsigned). Three outline comic
sketches unmounted, selected from a large series. Here
the extravagance in which Hokusai delights at this time
reaches almost the point of absurdity.

Bigelow Collection. Date about 1822.

90, 91, 92, 98, 94, 95, 96. By Hoxusal (unsigned). Seven of
a series of rough color studies of flowers and other ob-
jects. These certainly are among the most charming of
Hokusai’s rapid works. They reveal the Master in a more
human and natural mood. We are not here reminded
of the usual distorted world of his imagination. No
fastidious Shijo artist’need be ashamed of these sketches.
The brilliant color effects combined with the ink are most
noticeable, and illustrate another Japanese principle
that color can be conceived as a system which gradually
grows like a blossom out of a bed of gray. The pure
ink study of flowers, No. 96, suggests color by its very
values and gradations, while the pink fuyo blossom, No.
92, is really a creation in color-notan. They are all strik-
ingin their utilization of the wonderful qualities of
thin Japanese paper.

Bigelow Collection. Date about 1822.

97, 98, 99, 100, 101, 102. By Hoxusar (unsigned). Six of a
series of comic figure studies in color. Here again we
have the grotesque violence of Hokusai’s third manner

HOKUSAI, AND HIS SCHOOL. £7

carried to excess. It is interesting again to mark the
brilliant spotty color, noticeably the gay reds and
blues of No. 101. This may be compared with the
Hokkei, No. 72. Bigelow Collection. Date about 1822.

103, 104, 105, 106. By Hoxusar (unsigned). Four of a series

107.

108.

109.

110.

of ink figure studies representing in a comically realistic
manner the imperfect postures of a conscious young
lady who is just learning to dance. Here we have true
Japanese proportions, and the very instantaneous
swing of motion. The funny little fat faces, too, have
less of the ordinary Hokusai convention. These are >
not unlike drawings by Yeijo, but are apparently too
vigorous for her. Such realism as this, and of the
flower studies preceding, is the best excuse for Hoku-
sai’s third style. Bigelow Collection. Date about 1823.

By Hoxvsal (unsigned). Outline drawings of a juggler
and other figures, apparently preparatory studies for
prints. Here the grotesque violence of the series, 87 to
89, is combined with something of the care in drawing
found in No. 62.:

Bigelow Collection. Date probably about 1828.

By Hoxusal (unsigned). Rough color study on paper
mounted as a Kakemono. A Yoshiwara beauty of
about the year Bunsei 6th (1823). Here rough care-
less touch is carried to excess, and with only a small
portion of the picturesque beauty found in No. 27, with
which it should be compared.

Bigelow Collection. Date about 1823.

By Hoxvsali (unsigned). Color sketch on paper mount-
ed asa Kakemono. Subject: travelling mountebanks.
A girl in absurd costume perched on the shoulders of a
man wearing the mask of an oni, or cat-faced spirit.

Bigelow Collection. Date probably about 1823.

One of the series of large color studies of scenes on
the Tokaido, intended for reproduction by color print-

18 CATALOGUE.

ing. Itis interesting to study this original scheme of
color in prints belonging to the violent stage of draw-
ing. Bigelow Collection. Date about 1823-

111. By Hoxusar (unsigned). Color study of flowers on_
paper mounted as a Kakemono. ‘The use of blue
thrown into the wet green of the leaves is noticeable.

Bigelow Collection. Date probably about 1823.

112. By Hoxvsai (unsigned). Outline drawing on paper, a
study of a wrestling match. This has qualities simi-
lar to No. 107, and is an early instance of the peculiar
complicated drawing of muscles which is so common
in the prints of later years.

Bigelow Collection. Date about 1824.

118, 114. By Hoxusar (unsigned). Two of a considerable
series of outline drawings showing the motions of a

Geisha in playing on the Samisen. We are now upon

the threshold of a new departure in Hokusai’s career,

and of what we have calied his fourth period. Itisseen

in a desire for more pure and dignified line than he has

lately been accustomed to indulge in. It may be seen

by comparing these studies with the series 103 to 106.
Bigelow Collection. Date about 1826.

115. By Hoxusal (unsigned). Outline drawing of a Chinese
female figure, either a princess or a spiritual being.
Bigelow Collection. Date about 1826.

116. By Hoxusal (unsigned). Painting on paper mounted as
a Kakemono. Three figures engaged in the ceremonies
of a No dance. This is the solemn, slow combination
of dancing and singing, or chanting, which has some-
times been called the Japanese opera. Soine of the clas-
sic literary compositions for these dramatic dances are
very fine, and date from the fifteenth and sixteenth
centuries. The central figure wears a mask, like a
Greek actor. It is these masks for the operatic drama
which form such an interesting phase of Japanese

HOKUSAI, AND HIS SCHOOL. 19

wood-carving. Here we are still nearer to the opening
of the fourth manner. The composition of line is noble
and firm, though in touch the manner of numbers 103
to 106 is largely retained. The color, too, is more
sober and consistent. To understand what a change
this is pointing to, one should look ahead, and compare
this with the treatment of the same subject in No. 120.

Bigelow Collection. Date about 1826.

117. By Te1sat, formerly Hokuba, the early pupil of Hokusai,
now having quite gone over to the manners of Kunisada
and Hiroshige. Painting on silk mounted as a Kake-
mono. Ladies under the cherry trees at the Mukojima
terrace on the banks of the Sumida Riverin Yedo. This
has been inserted in the present series to illustrate the
movement away from Hokusai, as No. 41 illustrates the
movement toward him. The artist of No. 27 has de-
veloped, after twenty years, a more free and picturesque
manner of his own, in which he renders open air scenes
in clear atmospheric tones of gray.

Bigelow Collection. Date about 1827.

118. By Yeo, the daughter of Hokusai. Large full color
painting on silk mounted asa Kakemono. Subject: a
concert, or rather, perhaps, a rehearsal. Two young
ladies in brilliant garments, doubtless the daughters of
gentlemen, are playing a concerted piece of some com-
plexity on the koto and gekkin respectively, while their
teacher in quieter costume accompanies them on the
samisen. This is certainly one of the most notable
pictures in the exhibition for its earnest conception, its
sustained and finished execution, and its brilliant color-
ing. Itreally succeeds, as Hokusai seldom does, ex-
cept in comic pieces, in interesting us in the mental
moods of the depicted personages. It isa serious repre-
sentation with the comic and sketchy elements entirely
left out. The earnest conscientiousness and the emo-
tional absorption in the music exhibited by the girl on
the left are rarely genuine and beautiful, The line

20 CATALOGUE.

manner is the realistic one of her father’s third period,
and her color has something of the same sparkle and
unquiet lack of massing; but the possibilities of both
for good are carried up to a very high degree. The
rendering of the red figured crépe on the inner sleeves
of the girl on the left is a marvel of brilliant technique;
and the close composition of line in the group of the
two girls is worthy ofa great master.

Bigelow Collection. Date about 1827.

119. By Hoxvusar. Full color painting on silk framed with
brocade in the form of apanel. Subject: picnic parties
wandering among the blossoming cherry trees at Mu-
kojima. This, in technique at least, must be considered
the most notable and the finest specimen of Hokusai’s
work which has come to light in Japan in recent years.
Its qualities are not so much those that are conspicu-
ous from a distance; but, if looked at closely, it will be
evident that Hokusai’s proficiency in delicate and beau-
tiful workmanship has here reached its highest con-
ceivable degree. This picture marks the complete
entrance into the changes of his fourth manner; and in
its fulness of varied material, and in the sharp, crisp
rendering of detailed beauties it exhibits the exact pic-
torial equivalents of the exquisite designs for prints to
which Hokusai suddenly rose at this date. It is true
that there are deficiencies in this style. It carries over
from the third manner something of lack in breadth of
notan-color massing, a quality which was so conspicu-
ous in his treatment of exactly the same subject twenty-
four years earlier in No. 20. But in refinement of
drawing it far surpasses the former work, and thus a
fortiori it reaches the very reverse of the loose and
undignified drawing which had characterized so much
of his intervening period. It seems probable that he
was led tothis change by the growing rivalry of Hiro-
shige and of Kunisada, who, at this time, attempted to
realize the utmost of refined beauty which the day could

HOKUSAI, AND HIS SCHOOL. 21

conceive. Hokusai was doubtless accused of being a
clever designer, but incapable of producing serious pic-
tures like his contemporaries. The defection of a man
like Hokuba to their ranks accords with this supposi-
tion. Hokusai would seem to have been stimulated to
show that in delicacy and refinement of pictorial beau-
ties as conceived by the Ukioye there was no living
man whose works he could not far surpass. In the fore-
ground figures we even imagine we see something of
Kunisada’s facial types. In this light it is interesting
to compare this picture with the representation of the
same subject by Teisai in No. 117. But, however
caused, itis a glorious change, and shows Hokusai com-
ing into permanent possession of his sane ripe self.
The variety of motive treated in this work is very
remarkable and almost exhausts the Master’s range.
Here are women of several ranks, babies, and boys,
drunken workmen and equestrian Samurai, dogs, land-
scape foreground with double cherry blossoms in richly
colored masses upon the strongly drawn trees, a distant
bank lined with shrubbery, the water of the river,
waterfowl floating therein, mats, musical instruments,
decorated porcelain and lacquered wares, and other
picnic utensils. There is nothing more marvellous in
Japanese art than the rendering of the minute details
of these latter. It is not surpassed by the most micro-
scopic Tosa work of Gukei. In limited color passages
it is also important to note that we have something
almost unmatched in the world’s art for minutely
divided spaces united into the richest and most original
color symphonies. This is demonstrated by isolating
passages in a square aperture cut in cardboard. The
date of this marked transition to a new manner can be
established with great probability.

Bigelow Collection. Date 1828.

120. By Hoxusar. Full color painting on paper mounted as
a Kakemono. Subject: three figures engaged in the

22

hot.

CATALOGUE.

ceremonies of the no dance. The figures on either
side constitute both orchestra and chorus. Here the
wooden floor, the raised curtain, and the background
of pine-tree and sun enrich the composition beyond
that of the study, No. 116, and here we find a still
more thoroughly accomplished transition to the fourth
manner. The lines now become very crisp and fine,
are simpler and grander in composition, the mosaic
of the flat color-masses being largely relied on to indi-
cate the drawing. The result is a far greater breadth
of effect than in any work of the third period. This
is the first of his paintings that has had “‘ tone”’ since
No. 37. Moreover, there is realized a most conspicuous
dignity in the postures of his figures and in the con-
ception of their line-synthesis, an unwonted quality
which characterizes also his prints of this date.
Lastly in color we have a very decided advance toward
the established warm scheme of the fourth period as
best exemplified in No. 145. It is most interesting to
compare No. 145 with No. 119, regarding No. 120 as
a middle term. Here for the first time we find the
large square seal so familiar later on.

Fenollosa Collection. Date about 1829.

By YEO (probably, though unsigned). Color study on

paper mounted asa Kakemono. A Chinese lady play-

ing on the gekkin.
Bigelow Collection. Date about 1829.

122. By Hoxxer. Painting on silk mounted as a Kakemono.

Subject: a farmer’s wife and children going to work in
the fields. They are about to cross arustic bridge on
the right, and there is a background of river landscape
which somewhat suggests Hiroshige. Here in general
we have the Hokkeiish equivalent of the Master’s new
style. Hokkei’s color-prints of landscapes at this date
are among the triumphs of the school.

Bigelow Collection. Date about 1829.

HOKUSAI, AND HIS SCHOOL. 23

122 A and B. By Hoxusal (unsigned). Two of a series of
outline drawings mounted in a makimono or roll. Sub-
ject: wrestlers throwing and being thrown. Here we
have Hokusai’s conception of muscles in violent
action, but delicately and firmly rendered, as in some
of his contemporary prints. The Hokusaiish type of
face is passing into his later and permanent mannerism.

Bigelow Collection. Date about 1829.

122C. By Hoxusal (unsigned). Outline study unmounted of
a Japanese warrior, probably the famous Kato Kiyo-

masa. This has considerable dignity of line.
Bigelow Collection. Date about 1829.

123, 124, 125, 126, 127, 128. By Hokusal. One page each from
six volumes of minute ink-drawings worked up to the
point of final readiness for wood-engraving. These
are evidently not prepared to be cut on the block, but
to show both cutter and printer the total effect to be
produced by their work. Here are scenes of violent
combat between warriors in full armor, the camp of an
army, its march through a windy desert, and peaceful
interior scenes of court life. The beauty and delicacy
of the penmanship in this final form cannot be sur-
passed, and the dignity and purity of the figures in the
court scenes is very high for Hokusai. The architec-
tural divisions of some of the backgrounds also reveal
fundamental beauties of high grade. So perfect is the
execution at all points that it requires minute examina-
tion to distinguish these drawings from the finest
prints. They represent the highest quality of design
in this direction that the Master ever produced, for
here Hokusai brings to momentary perfection the com-
plete balance between delicacy of execution and
breadth of effect.

Bigelow Collection. Date about 1830.

129, 130. By Hokusai (unsigned). Two studies of the action
of swordsmen mounted as a Kakemono. The lower
one of these gives us an exhibition of the combined

24 CATALOGUE.

arts of military wrestling and fencing. The figure on
the left is using a steel implement carried by the
Tokugawa police to guard against a sword blow, while
the gallant on the right, with tucked up trowsers, whom
the other is probably trying to arrest, not only has
drawn his blade but is making good use of both hand
and foot. There is very great dignity of line idea in
these figures in spite of the strenuous intensity of the
combat; and we find for the first time, what after-
ward becomes so common in Hokusai’s studies and
prints, a careful modelling of all the flesh parts in
subdued red. Bigelow Collection. Date about 1831.
131. By Hoxusal. A very elaborate color study, on un-
mounted paper, of half a dozen men struggling to cap-
ture a wild animal of apparently some bovine species.
Here the flesh is elaborately modelled in red, the
figures are losing dignity, the lines tending to sweep in
a series of convex curves, and the coloring for the first
time shows us Hokusai’s developed scheme in its dull
reds, greens, blues, and warm brown. It is apparently
a study for an elaborate painting.
Bigelow Collection. Date about 1833.
132. By Hoxkusar (unsigned). Outline study, unmounted ;
probably a first composition for a painting, of Yebisu
and Daikoku, two of the seven spirits of good fortune,
engaged in a comic dance.
Bigelow Collection. Date about 1834.
133. By Hoxusalr the second (probably). Painting on paper
mounted as a Kakemono. Subject: Kanwu, the great
Chinese general of the War of the Three States. Here
we have the new system of curves carried to the point
of an unpleasant convention. Itis assuredly not by the
master, and is more like the work of Hokusai second
than that of any other known disciple.
Bigelow Collection. Date about 1834,
134. By HoxkusAr (unsigned). Color sketch mounted as a
Kakemono, Blue iris flower and sparrows.
Bigelow Collection.

HOKUSAI, AND HIS SCHOOL, 25

135. By Hoxusal. Finished painting on unmounted paper of
a Chinese Taoist magician, sennin, flying through
the clouds. The breadth of massing of the new line
manner is noticeable, as is also the quiet suggestion of
color in modification of grays.

Bigelow Collection. Date about 1835.

136, 1387. By Hoxusal (unsigned). Two first rapid studies
from nature selected from an album of studies and
sketches, These important studies in red outline
illustrate Hokusai’s method of preparing his first
material ; a rough draft, very rapid, in pale red, to
catch the momentary action, supplemented by a crisp
over-drawing in darker red to correct the outline.
These studies are of special interest, since they are
from the nude, taken in a public bath-house ; and while
they show no great concern for anatomical correctness,
they are charged with the feeling of life and action.

Bigelow Collection. Date about 1835.

138. By Hoxkusal. Painting on silk mounted in the form of a
temple-panel. Subject: a Shinto priest, Kannushi,
kneeling reverently, and holding forward a square tray
of fresh white wood to invite the sacred white serpent
which approaches in the foreground. A white serpent
is supposed to be a form in which certain high spirits
choose to manifest themselves. Here Hokusai’s man-
ner begins to attain the breadth which marks his old
age. The outlines, while rich and firm, subordinate
themselves to the large notan-color masses. Here is a
juiciness of quality, so to speak, which we have not
seen in his work since No. 26. The contrast in color
of warm subdued orange red with pure gray centred in
the black of the hat is fine.

Bigelow Collection. Date about 1835.

139. By Hoxusal. Painting on paper mounted as a Kakemono.
Subject: a pounder of the New Year’s rice-dough,
mochi, with straw coat and hat in a heavy snow storm.
Here we see a typical sample of Hokusai’s rapid work

26 CATALOGUE.

in pale red, enriched with a little quiet green and blue,
and marked at salient points with afew thick black
strokes of outline, so characteristic of the ‘‘Mangua”’
and other prints of this full-fledged fourth period. It
forms almost a style by itself; and here for the first
time in this series, he uses in his signature the ‘‘ swas-
tica’”’? character man. For likeness as also difference,
compare with No. 20.

Bigelow Collection. Date about 1835.

140. By Hoxusar (unsigned). Study in color of a fuyo blos-
som mounted as a Kakemono. This is typical of the
flower work belonging to the style of No. 189. It is in-
teresting to compare it with the treatment of the same
subject in No. 93. Bigelow Collection. Date about 1835.

141. By Hoxusal. Painting on paper mounted asa Kakemono.
A man standing on the edges of a large tub washing
potatoes by stirring them with two crossed sticks. Here
is another typical specimen of the rougher form of the
style of 1835. In this we see to what sort of work such
studies as numbers 136 and 137 lead. The thick juicy
black outline is freely used, while the red and blue are
enriched with a touch of the brilliant yellow frequently
met with later. This study, both in subject and in man-
ner, is characteristic of the prints of this period, both the
red and black prints in book form, and the several series
of large color-prints, notably the set of views of Fuji. It
is noticeable that the red of the flesh is superposed upon
its black outline, thus softening the edge and preserving
the tone. Bigelow Collection. Date about 1835.

142. By Hoxusar. Large study on paper mounted as a
Kakemono. Subject, an imp with measure and pen
rushing through the air. This is doubtless a rapid study
for a large painting; and the seal has been drawn by
hand. Bigelow Collection. Date about 1835.

143. By Hoxusal. Painting on paper mounted as a Kakemono.
Subject: the Buddhist sacred lion-like animal, shisht.
This interestingly shows a style further advanced toward

HOKUSAI, AND HIS SCHOOL. Q7

later breadth. The black line-touch thick, crumbling,
and modulated, here blends and there contrasts finely
with equally crumbling washes of gray. The brilliancy of
the white paper where left is enriched toward the bottom
with the dull red which culminates upon the rock. This
subject and manner are found frequently in Hokusai’s
printed designs, especially those for architectural wood-
carving. For the first time the Fuji seal is used, and in
the signature are included all his later names, ‘* Hokusai,
Tameichi, rojin, Man.”’

Bigelow Collection. Date about 1835.

144. By Hokusai. Full color painting on paper spotted with

gold, and mounted as a low eight-panelled screen.
Subject, a large sacred Buddhist bird flying, the hod,
or ‘‘ phoenix ’’ of European writers. This is the very
finest example of Hokusai’s avowedly decorative man-
ner, being so conceived in line and color as to harmo-
nize with the whole scheme of ornamentation of a tem-
ple interior. Strongly and finely finished, it exhibits
the Hokusai coloring and technique of 1835 as applied
in the use of thick opaque pigments.

Bigelow Collection. Date about 1835.

145. By Hoxusat. Full color painting on a large six-pan-

‘y .
t

elled screen completely shown. This screen and its
companion set against rich landscape backgrounds
groups of figures representing actions and aspects char-
acteristic of the several months. Such combinations
are common in large Japanese work, but they are sel-
dom unified into such a richly consistent composition.
It is as asingle conception that this painting most inter-
ests us, though this explanation may make intelligible
the symbol of mid-winter, Fuji snow-capped, springing
from the arms of the autumnal hills. Here we have
Hokusai’s nearest approach to a grandly beautiful com-
position, which also illustrates the ripe culmination of
the fourth period. It is the period of his most charac-
teristic outline prints of the life of farmers and arti-

28

CATALOGUE.

sans; the period, too, of his most richly colored single-
sheet prints of landscape and figures. Here, condensed
in a single work, we have the chief themes of the fa-
mous ‘ Thirty-six Views of Fuji.” The figures are
rendered in firm black outlines, sharper than those of
No. 141 as befits their more formal finish, entering into
dignified line-synthesis as in No. 130, but frequently
using the system of flexible curve as in No. 131. As
representations of life and action in the finished Hoku-
sai convention they reach the culminating point; and
they should be compared and contrasted with the rich
series of drawings, Nos. 29 to 36. The passage of
color in the central group of the cloth-beaters with its
variegated background is the very richest in the whole
range of Hokusai’s work. In minuteness of execution
this work is far behind No. 119, with which it should
be compared; but in breadth of harmony of warm colors
it reaches a greater picturesque height. The use of
chrome-like yellow in brilliant stipple on the tree-
masses, supporting the cloudy background of spotted
gold, gives tone to the warm soft orange of the sky and to
the cool blue gray spaces of the marsh and the distance.
That retainers of some neighboring squire should set out
a-hunting with hawk and dog from this typical Japanese
farmhouse, where men are rethatching the roof, piles
of washed clothes are beaten by the women, a boy lugs
in a basket of egg-plants while another fashions a grind-
stone, is natural enough; as is also the fact that the
itinerant provision dealer should stop for a chat and a
pipe with the man who has a circulating library done
up in green on his back.

Lent by HE. F. Fenollosa. Date 1835.

146. By Hoxusar. Companion screen to No. 145. The two

b 72.8 4

central panels shown. The foreground group of farmer,
boy, wife, and baby returning tired from work is most
characteristic. In the centre men are sizing, stretching
and drying a roll of freshly dyed cotton, while on the

HOKUSAI, AND HIS SCHOOL. 29

left, the tumbling boys, kagwra, with lion-masked or-
chestra, are amusing the neighborhood. The drawing of
the elevated legs and feet of these boys is quite unsur-
passed, and reveals the extraordinary capacity of the
Japanese brush. Lent by E. F. Fenollosa. Date 1835.

147. By Torry. Contemporary and friend of Hokusai. Large
color-study on paper, unmounted. Subject: the future
hero, Yoshitsune, being taught in youth by a mountain
wizard, sennin. Torin, son of an artist of the same name
and pursuing a contemporary line of work which never
rose to prominence, seems about this date to have
strongly influenced Hokusai’s life and work. He was
accustomed to paint street signs, kites, fans, and trans-
parencies in a strong pungent style suited to the popular
taste. This painting illustrates the decided individuality
of his somewhat theatrical manner.

Bigelow Collection. Date probably about 1836.

148. By Torin. Large rough painting on paper, unmounted.
Subject: group of men drinking, and illustrating the three
expressions of ‘‘ Crying, laughing, and scolding.’”? The
soft olive tones on the figures and the wild plum-tree,
opposed to the dull crimson bars in the sky, are as strik-
ing as original. Hokusai, in his imitations of the Torin
manner, never rose to anything like the freedom and
force of this sketch.

Bigelow Collection. Date probably about 1836.

149. By Hoxusar. Color-study on paper, unmounted, influ-
enced by Torin. Subject: the famous Ota Dokan,
founder of the castle at Yedo, and the farmer’s girl.

Bigelow Collection. Date probablg about 1836.

150. By Hoxusai. Color-study on paper, unmounted. Design.
probably for a transparency, in the Hokusai adaptation
of the Torin manner. Subject: figure wrestling with an
enormous mythical bird. This is quite in the style of
the hundreds of designs for kites, lanterns, etc., exe-
cuted by Hokusai and the pupils of his old age. It is

30

_ CATALOGUE.

rare to find one of them signed, as this, with Hokusai’s
several names.
Bigelow Collection. Date probably about 1836.

151, 152, 153. By Hoxvsai (unsigned). Three printed draw-

ings in color from an album of designs by Torin,
Hokusai, and their pupils. These are all studies of
mythical incidents not here necessary to explain. The
one on the left recalls more Hokusai’s own manner as
seen in No. 138; the one on the right is entirely in the
style of Torin; while the middle one combines the
qualities of both.

Bigelow Collection. Dates probably between 1835 and 1840.

154. By Hoxuaa, a late pupil of Hokusai. Large painting on

154 A.

silk mounted as a panel. Group of three large fish,
Koi, swimming among water-weeds. This work,
notable less for its conception than for its execution,
is hardly inferior to Hokusai’s best. The color effect is
produced almost entirely with ink and gold, the one
marvellously shaded in delicate manipulation over the
other. Bigelow Collection. Date probably about 1838.

By Hoxvusat. Painting on silk mounted as a Kake-
mono. Subject: two deer on a hill with flowering shrub-
bery in the foreground. Here we meet with the first
of the series upon which Hokusai, in his signature,
recorded his age according to his invariable practice
from his eightieth year onward. In this specimen
the well-known coloring is richly used; but the draw-
ing in parts is so effeminate that, but for the undoubt-
edly genuine signature, one might hesitate to whom to
ascribe it. Bigelow Collection. Age 80, date 1839.

155. By Hoxusat. Full color painting on silk, mounted as a

Kakemono. Subject: a wild hawk in descending pursuit
of a bevy of small birds seeking the shelter of the
ripening millet whose upper stalks are carefully drawn
on the right. This is a rare example of most smoothly
finished work in Hokusai’s fifth manner. In spite of

156.

157.

158.

159.

160.

HOKUSAI, AND HIS SCHOOL. 31

the fine hard outline, there is much breadth in the
treatment of objects, as whole notes of an original color
scheme in which the yellow is dominant. This bird
drawing should be compared with that in No. 71 and in
No. 165. Bigelow Collection. Age 80, date 1839.

By Hoxvusat. Roughly painted on paper mounted asa
Kakemono. Subject: a cormorant plunging after small
fish. Here is the first fully developed exhibition of
Hokusai’s fifth and last manner in treating simple sub-
jects. The breadth of mass and of execution are
extreme. Bigelow Collection. Age 80, date 1839.

By Hoxvusal. Rough painting in ink on paper mounted
as a Kakemono. Subject: the ascending dragon. This
type of dragon is found in innumerable later prints and
sketches. The execution of the clouding on bibulous
paper is noticeable.

Bigelow Collection. Age 80, date 1839.

By Hoxusar. Painting on paper mounted as a Kake-
mono. A slice of watermelon with a few leaves. This,
though somewhat hard in outline, is interesting for the
original European-like color-rendering of the fruit pulp.

Bigelow Collection. Age 80, date 1839.

a

By Hoxvsal. Painting on silk mounted as a Kakemono.
A bevy of blackbirds flying across a waving spray of
willow. In spite of the peculiar drawing which makes
it impossible to say that these birds may not be meant
for swallows, the splendid rendering of flight, the large
execution, and the beautiful solemn tone of the color
blended with ink, render this picture one of the great-
est triumphs of Hokusai’s fifth manner.

Bigelow Collection. Age 82, date 1841.

By Hoxvusat. Rough painting on paper for a Kakemono.
The famous badger of the legend with the tea-kettle.
Compare this with the more finished work of numbers >
163 and 165. Bigelow Collection. Age 82, date 1841.

32 CATALOGUE.

161. By Hoxvusat. Painting on Chinese silk mounted as a
Kakemono. Subject: Chinese gentleman finishing the
decoration of his cap with bamboo grass. It is inter-
esting here to see what the outline method of numbers
139 and 141 has resulted in. Here we have the man-
nered type of Chinese face common in Hokusai’s later
prints. Bigelow Collection. Age83, date 1842.

162. By Hoxusal. Painting on silk mounted as a Kakemono.
Kagura mummers crossing a high bridge. These are of
the same sort of street acrobats seen exhibiting in No.
146. Their unity of step and motion to the sound of
the drum is in keeping with the sober breadth of
masses. Bigelow Collection. Age 84, date 1843.

163. By Hoxusar. Full color painting on silk mounted as a
Kakemono. Subject, Yamato-dake no Mikoto, the fa-
mous prince of early Japanese legend. This is an illus-
tration of the tendency of the later Ukioye to go back,
for the first time in the history of Japanese art, to the
motives afforded by the early traditions relating to
Japan’s imperial line. No doubt such matters had
before been held somewhat too sacred for the touch of
profane art ; and it can hardly be said that a worthy
dignity of treatment at the hands of the Ukioye stimu-
lated rivalry among other schools. This is a fair speci-
men of Hokusai’s last manner in its*more finished
work, the outlines of the figure being given in strong
unhesitating touches. The evidently deliberate desire
to hold colors together in strong notan masses, even
where thick ink is not used, reveals Hokusai’s con-
sciousness of this grandest of his later qualities. The
use of very dark washes of indigo blue to take the place
of ink in the notan scheme, and the co'or value of the
deep red flesh are well worthy of note. This picture
was formerly reproduced in the ‘‘American Art Review”’
by Prof. Edward 8. Morse, who afterward contributed
it, together with the deer picture, No. 154 A, to the
unrivalled Hokusai collection of Dr. Bigelow.

Bigelow Collection. Age86, date 1845.

HOKUSAI, AND HIS SCHOOL. 83

164. Painting on silk mounted asa panel. Subject: Fukuro-
kuju, the tall-headed Genius of Longevity. Here we
have the perfection of Hokusai’s last manner in work
of medium rapidity. It is neither a sketch like No.
160, nor full of detail like No. 168, but aserious work,
of simple though fully deliberate execution. The very
wide ink strokes melt into the color in splendid notan
masses ; and the color itself, strong and primary, blends
perfectly with the brilliant notan. There is no shadow
of weakness throughout the picture. It should be con-
trasted with No. 119, the perfection of Hokusai’s work
where breadth is lacking, and compared for difference
of method in attaining breadth with No. 20, executed
nearly forty years earlier. This extraordinary passage
from an earlier to a later breadth across an interreg-
num of disintegration, is the unifying feature of Hoku-
sai’s almost unexampled career.

Bigelow Collection. Aye 86, date 1845.

165. By Hokusai. Painting on silk mounted as a Kakemono.
Subject: a group of storks. As No. 164 is the perfection
of Hokusai’s fifth manner in more rapid work, so is
No. 165 in the line of his more deliberate execution.
Here one can find minute touch enough in places
where sharpness of line is desired, but never used in a
way to break the splendor of the masses. Of these
masses the notan breadth is not more extraordinary
than the color scale of opaque white tinted to warmth
of brown, and contrasted with blacks which, to speak
paradoxically, seem penetrated with a fire of still
blacker blues. A middle register of cool blue-grays
and soft warm greens, with a sparing use of brilliant
sharp reds cutting the white at salient points, com-
pletes a color-passage which is certainly one of the
noblest in the range of modern Japanese art.

Bigelow Collection. Age 87, date 1846.

166. By TAMEICHI the second, pupil of Hokusai, and pr oba-
bly the same man who has previously signed himself

34. CATALOGUE.

‘¢‘ Hokusai the Second.’? The life of the latter is for
the most part unknown, but there are paintings in
existence, signed with his name, which are much in the
style of this flower piece. Here, however, Hokusai’s
square seal, used in No. 165, has been employed. It
is possible that Hokusai now resigned it to his pupil.
Full color painting on silk mounted as a Kakemono.
Subject: blossoms of the tree-peony, botan. This isa
very distinguished painting with the large qualities of
the Master, though slightly colder in color.

Bigelow Collection. Date about 1847.

167. By Hoxusat. Painting on silk mounted as a Kakemono.
Subject : wild hawk flying across the sun. This is a
fine specimen of work to be compared with No. 165.
The signature has the single character ‘‘ man,” and a
new seal with the character ‘‘ hiaku” (a hundred) is
used, which in two shapes accompanies his work to
the end. Bigelow Collection. Age 88, year 1847.

168. By Hoxvsar. Full color painting on. silk mounted as a
Kakemono. Subject: Chinese warrior, probably one of
the heroes of the War of the Three States, in full
armor standing on the prow of a ship. An island or
cape rises above the mist inthe background. This isa
still more firmly conceived and delicately executed
specimen of the Master’s latest work than No. 163.
Here there is no sign of the weakness of age ; here
the finish on face and hands may compare with that of
his best.- In spite of the cut-up design of the armor
constructed in small pieces, the figure asa whole and .
the boat are conceived with much breadth; and the
tone is tender and fine. It gives us Hokusai’s latest
triumph at an age when most men are superannuated.

Fenollosa Collection. Age 88, year 1847.

169. By Hoxuret!, alate pupilof Hokusai. Painting on paper
mounted as a Kakemono. Subject: the scene famous in
story and drama of the unfortunate Endo who by mistake

pty

HOKUSAI, AND HIS SCHOOL. 35

had cut off the head of his sweetheart, Keisa, instead of
that of her enemy. It is treated with the strong qualities
of the Master’s style, though the color is less tender. The
maples weep tears of crimson leaves in sympathy for the
shedding of innocent blood. Hokurei survived Hokusai
for some years, and is one of the chief perpetuators of his
style. Bigelow Collection. Date about 1847.

170. By Hoxusat. Rough painting of Fujisan upon a fan,
now mounted as a Kakemono. A storm plays about the
base of the mountain, as in Hokusai’s prints.

Bigelow Collection. Age 89, date 1848.

171. By Hoxusat. Painting on silk mounted as a Kakemono.
Chinese figure gazing at an enormous waterfall. <A
child-attendant hides his face in awe behind the ample
sleeve. The waterfall, as usual with Hokusai, is too hard
in line; but the figures are interesting as examples of the
Master’s manner on the eve of his death.

Bigelow Collection. Age 90, year 1849.

172. By Hoxkusatr. Painting on silk mounted as a low two-
panelled screen. Subject: a flight of wild geese across
the moon. Though the forms have the awkwardness of
the Hokusai mannerism, the execution, whether in out-
line, wash, or delicate over-touches, is as tender and per-
fect as in his best days, and merits close study. The
softness of the color-modifications of the ink is extremely
beautiful. This is Hokusai’s dying song of joy in the
freedom of flight.

Bigelow Collection. Age90, year 1849.

In résumé, it may be well to point out that from a Japanese
point of view the finest and most typical of the paintings in this
exhibition are numbered 1, 15, 20, 21, 23, 24, 25, 26, 37, 38, 55,
72, 118, 119, 120, 145, 146, 159, 164, 165, and 168. If from these
one were still to select those which reach the very extreme of
beauty, fulness, and power, they would be numbers 20, 119, and
145,